NOT SOLD (BIDDING OVER)
0.00EUR+ applicable fees & taxes.
This item WAS NOT SOLD. Auction date was 2002 Mar 18 @ 09:30UTC-08:00 : PST/AKDT
AïCHA
Öl auf Leinwand
Unten rechts signiert und datiert ’22
101 x 81,5 cm
Schätzung: 140,000-180,000 CHF
94,400-121,000 €
Im Livre de raison ist dieses Gemälde beschrieben als
négresse coiffée d’un madras argent drapée dans
manteau vert et noir, collier rouge. fond atelier.
Provenienz
Sammlung Jacques Rodrigues-Henriques, Paris
Ausstellung
Algier, Musée d’Alger, 1936
Paris, Pavillon de Marsan, Louvre, 1936
Prag, 1938
Zürich, Kunsthaus, Félix Vallotton, 1938, Nr. 168, Tafel XXI
Bern, Kunstmuseum, L’Orient et L’Algérie dans l’Art Français, 1947
Paris, Maison de la Pensée Française, 1955, Nr. 56
Literatur
Félix Vallotton, Livre de raison, Zürich 1938, Nr. 1 392
Marina Ducrey wird das Gemälde in den Oeuvrekatalog Vallotton aufnehmen.
Aïcha war im Paris der zwanziger Jahre neben Kiki, Thérèse Treize, Cécile Vidil und Youki eines der bekanntesten Modelle und verkehrte mit Pascin, Kissling, Foujita oder Derain. «Avant 1914, les peintres et les académies se procurent des modèles (hommes ou femmes, enfants et vieillards), chaque matin, au «marché aux modèles», situé au carrefour de la rue de la Grande-Chaumière et du boulevard du Montparnasse... On paie généralement le modèle 5 francs pour une matinée mais Pascin, par exemple, donne jusqu’à 40 francs à ses modèles favoris.» (L’École de Paris, 1904-1929, la part de l’autre, Musée d’Art moderne de la Ville de Paris, 2000/2001, Editions Paris musées)
Aïcha stammte aus dem Norden Frankreichs und ritt bereits mit sechs Jahren auf wilden Pferden. «À l’époque, je travaillais dans un cirque. À Clamart. Un jour, à la sortie du chapiteau, Pascin m’a accostée, me demandant si je voulais être son modèle. Moi, à l’époque, j’ignorais totalement ce qu’il me faudrait faire pour être modèle. Mais, comme j’avais l’intention de quitter le cirque… Pascin m’a donné son adresse. Je suis arrivée au café du Dôme, où je l’ai retrouvé. Et alors, pendant des mois et des mois, Pascin m’a gardée très jalousement. À Montparnasse, on ne savait même pas si je parlais français, car Pascin ne laissait personne m’approcher. Pendant plus d’un an, je n’ai posé que pour lui. Mais un jour, comme tous les peintres de Montparnasse me voulaient comme modèle, j’ai volé de mes propres ailes…» (Jean-Marie Drot et Dominique Polad-Hardouin, Les Heures chaudes de montparnasse, paris 1995, S. 118, 119)
«Avec ces années vingt s’ouvre non pas la décennie de la liberté, mais celle de toutes les libertés, de toutes les audaces et provocations sexuelles, verbales, idéologiques. La femme triomphe...» (Drot/Polad-Hardouin, 1995).
Marina Ducrey hat das hinter Aïcha an der Wand hängende Gemälde als ein Bildnis der Mutter Vallottons identifiziert (LRZ 806), das Vallotton 1906 gemalt hatte
Auction Location:
Switzerland
Previewing Details:
March 14 - 17, 10:00am - 6:00pm Each Day
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